Religion, morality, and philosophy, while they all aim at so-called universal Truth, tend to depreciate the value of life in the eyes of exceptional men. Though they establish the "beautiful" for the general stock, and in that way enhance the value of life for that stock, they contradict higher men's values, and, by so doing, destroy their innocent faith in the world. For the problem here is not, what value is true?--but, what value is most conducive to the highest form of human life on earth? Nietzsche would fain throw all the burden of valuing upon the Dionysian artist him who speaks about this world out of the love and plenitude of power that is in his own breast, him who, from the very health that is within him, cannot look out upon life without transfiguring it, hallowing it, blessing it, and making it appear better, bigger, and more beautiful. And, in this view, Nietzsche is quite consistent; for, if we must accept his conclusion that our values are determined for us by our higher men, then it becomes of the highest importance that these valuers should be so constituted that their values may be a boon and not a bane to the rest of humanity. Alas! only too often, and especially in the nineteenth century, have men who lacked this Dionysian spirit stood up and valued the world; and it is against these that Nietzsche protests. It is the bad air they have spread which he would fain dispel. An to what art means to the artist himself, apart from its actual effect on the world, Nietzsche would say that it is a manner of discharging his will to power. The artist tries to stamp his opinion of what is desirable, and of what is beautiful or ugly, upon his contemporaries and the future; it is in this valuing that his impulse to prevail finds its highest expression. Hence the instinctive economy of artists in sex matters--that is to say, in precisely that quarter whither other men go when their impulse to prevail urges them to action. Nietzsche did not of course deny the sensual nature of artists (Aph. 815); all he wished to make plain was this, that an artist who was not moderate, _in eroticis,_ while engaged upon his task, was open to the strongest suspicion. In the Fourth Book Nietzsche is really at his very best. Here, while discussing questions such as "The Order of Rank," he is so thoroughly in his exclusive sphere, that practically every line, even if it were isolated and taken bodily from the context, would bear the unmistakable character of its author. The thought expressed in Aphorism 871 reveals a standpoint as new as it is necessary. So used have we become to the practice of writing and legislating for a mass, that we have forgotten the rule that prevails even in our own navy--that the speed of a fleet is measured by its slowest vessel.